Cremona – Much Ado About Nothing. This production of traviata seems destined to stir up chaos and spark a lot of discussion. In the end, the goal was achieved – in part –: traviata ended withwide dispute addressed to the manager Luca Barracini. Whistles, “boo” and “shame” from the show to the stalls, expressing an audience that would not tolerate the purely provocative turn that some operatic directives often end up with. by herself, Barracini’s idea immediately aroused some doubts. The iconic Violetta Valery “always free” would originally be a man who longs in front of a mirror not to recognize himself in her image, rejecting what he sees, that is, suffering from a discrepancy between what he is and what he feels. Violetta faces the inner struggle of gender identity. The excuse is a few allusions from the libretto (“Addio del past” at the beginning of the third act, “l’immagine de my last days” at the end). So there will be a “transition” in Violetta.
However, the problem with this arrangement arises from two basic reasons: First of all, What appears to be the fact that the director has made too much use of Verdi’s message – its misunderstanding – in the wake of a political and ideological debate that has been deeply felt in Italy in recent years.. It’s a very easy game today, but the historical cultural revisionism he wants is hard to believe Giuseppe Verdi Gradual fort. The second reason is connected with the first: he puts Verdi in the service of A.A An ahistorical attempt to dazzle and provoke the public. This trend is actually trying to freak out the public, but using traditional and even a bit old-fashioned styles. There is nothing really revolutionaryIn fact, there is a lot of commitment in wanting to re-propose falsely provocative schemes and – whatever anyone says – imbued with ideology. In fact, if we abstract the traviata from the rock of the supple genre (itself also well developed by the director), from the vulgar (for example, Sadomasochistic Gypsy Choiror the poetry of “Un dì felice, eterea” which is obscured by scenes with a sexual background), nudity (introduction to the second act, with the male alter ego of Violetta trying to castrate herself) and folklore (such as transvestites who are ubiquitous in the scene), we only have a traviata stage Typical, already seen and reviewed.
On its own, the show would also work, even if it wasn’t particularly thrilling, or suggested alternatives to “traditional” traviata soap operas; Beside There is no shortage of very important, if somewhat rhetorical passagesOn the subject of self-acceptance, and here the director is right: in the age of uproar, many are marginalized and misunderstood (Violetta «alone and abandoned in this densely populated desert»). This tempting review occasion to offer a little reflection. If on the stage – as this theatrical performance wants (or would like to reaffirm) – to cause discussion, if it is to be a kind of agora where ideas cross and collide, then not only must we not be dismayed by the resounding objection which this trend has gathered , but we should consider it an integral part of the technical discussion. Continuation, scenes Francesca Sgariboldi Bring Traviata to our times with two static scenes, a disco and the house of Violetta and Alfredo (Lights Gianni Bertoli). Contemporary fashion too Donato di Donna. Don’t hide behind the excuse of a fanatical audience or not being too open to modernity or social issues: Bad taste is bad taste (The first whistles come with an avoidable sadomasochism scene midway through the second act.) Fortunately, Verdi, whose music is difficult to fake, intervenes. Direction in hands and stick Enrico Lombardiapproaching a well-known score like that of Traviata attempts to forget for a moment the traditional practice of performance and attempts to return linguistically to Verdi’s original. The result is a compromise between the original form and traditionwhich highlights some aspects of “bel canto” (cuts on capelettes are avoided and vocals and coronets are accentuated).
The title role is entrusted to Francis Sasso, soprano with a very gentle, vulgar timbre. He knows how to restore poignant intimacy in moments of greatest compassion. Excellent test also for Alfredo of Valerio Borgioni, who forgoes the traditional bon vivant look in favor of the shyer, sometimes slightly awkward Alfredo. Less concentrated is the Germont Vincenzo Nicardo, they are often swallowed down and with few nuances. Some limitations also in acting and imitation: the result is a two-dimensional Germont who lets himself go in theatrical gestures and a grim look more suited to a Scarpia or Jago than a father who, despite his severity, is capable of affection and mercy. Well, I distinguish between the different backers: Riot VenturiroAnd the Sharon ChaiAnd the James LyonAnd the Alfonso SiolaAnd the Alessandro ApisAnd the Nicholas CiancioAnd the Hermes is nicer And the Philip Quarters. Very well Lombardy Opera Choir Prepared by mr Malaspina and theAfternoon orchestra musicthere. Repeat tomorrow at 15.30.
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